DOCSLIB.ORG

Student Guide to Drama Education 2018–19

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Student Guide to Drama Education 2018–19 STUDENT GUIDE TO DRAMA EDUCATION 2018–19 622704 ISBN 9781910622704 781910 9> SGDE1819-OL_001_Cover [APPROVED].indd 1 07/08/2018 15:29:22 BE YOURSELF BE AMAZING We are looking for creative, inspirational individuals to open their own Pauline Quirke Academy. If you have a passion for the performing arts and a desire to pass your knowledge on to the next generation, we would love to work with you. • No Franchise fee • Full administrative support • Professional assistance with marketing • Ongoing head office help and support What we want from you is your experience, skills and enthusiasm. Working with PQA means you focus on delivering exciting lessons and performances in the performing arts with your own team of teachers. For more information visit pqacademy.com or call 0800 531 6282 and ask for Kelly Jones YEARS OF BEING AMAZING SGDE DIGITAL.indd 2 08/08/2018 10:32:47 Student Guide to Drama Education 2018–19 Welcome to the Student Guide which offers you insight into lots of these things so to Drama Education. This guide that you can apply for Higher Education better is designed to offer advice if informed about what careers are available. This will you are thinking of applying to also affect whether you apply to university or to study or train in any aspect of drama school (or try your luck with both). the performing arts. This guide offers lots of practical advice about the Though many students hope to careers and courses available; preparing for your become actors, there are many auditions and interviews; and preparing yourself for a life and varied professions relating to the theatre business ‘in the business’. We round off with some recommended – you might want to consider directing, stage reading, so there’s plenty to keep you busy. management, or a technical or design career, or perhaps becoming an agent or casting director. Break a leg! You don’t have to specialise too soon, either: if you’re Sarah Lambie only in year 11 you might decide to pursue a course Editor Performance Contents Speak the speech, I pray you ... 43 Acting your audition song 46 Education & Administration Know thy self 48 What’s it like to study … 5 Listings 49 Firm foundations 12 Suppliers & Services Higher Education: the options 15 Out of the limelight 85 Tuition fees: the facts 16 Becoming a theatre director 89 Choosing and preparing your monologues 17 for drama school auditions Books to read 92 Listings 21 Plays to read 94 Listings 96 Extra online material The Student Guide to Drama Education is also available to read free online. The online version includes extra pages of listings content, featuring information on performance organisations, such as agents/managers and youth theatres; suppliers and services to the industry; and education and administration, listing the performing arts courses available around the country, as well as information on funding and support. Visit www.rhinegold.co.uk/SGDE for the extra online content. Editor Sarah Lambie Advertising executive Alisdair Ashman Editorial assistant Cameron Bray Printed by Pollards, Oak House, Falcon Road, Exeter Designer Hal Bannister EX2 7NU Production controller Ashley Reid STUDENT GUIDE TO DRAMA EDUCATION 2018–19 3 SGDE1819-OL_003 Intro_Contents [APPROVED].indd 3 07/08/2018 16:34:18 HIGH SCHOOL EDITION samfren.ch/UKChicagoHSE SGDE DIGITAL.indd 4 08/08/2018 10:32:48 Education & Administration What’s it like to study … … Directing Paul Kmiec Mariagrazia LaFauci an assigned play. I was so grateful to be Did you know what you working with some of the most incredible wanted to do as an practitioners in the world. occupation before you started the course? Did that What did you find most change during the course? challenging? Directing is my ultimate passion, but I The final director’s showcase at the end am also interested in dramaturgy and the of the year was the first chance we had work of an artistic director, and both of What course did you study at to create our own work. We’d learned those passions sharpened through my time what institution? so much that we wanted to put into at LAMDA. I want someday to provide I completed the MA Directing course at practice, but it’s impossible to cram all of a platform for artists to connect and LAMDA in Autumn 2017. that learning into one rehearsal process. collaborate with communities in order to I chose a very ambitious piece to take tell a location-specific story that honours Why did you choose that a big risk and push the limits of my the connection between actor and audience. particular course? capabilities. It would have been wiser to I was glad to have received encouragement I wanted a holistic approach that didn’t choose something that fit better within that directors are also practitioners and the adhere to one particular method or the parameters and the limited timeframe role need not be so strictly defined. style of theatre. At LAMDA a number of we were given. However, I think I learned different techniques and methodologies more from my struggles and failures What is it that you do now, are taught. Also, directing students had to attempting to do this challenging project and what are your plans for take courses alongside the actors. I believe than I would have had I just done the future? it’s important to have an understanding of something safe, easy, and successful. I founded Trinacria Theatre Company actors’ process, in order to respect it and in Messina, Sicily, which is all about speak their language. What did you like about the cross-cultural exchange and community institution? story-sharing. Most of my family still What were the entry Even after graduating, we are continually lives in a tiny village in Messina. Over requirements? there to support one another, see each the years there has been mass emigration After an application online, there were other’s work and collaborate. It seems like due to crippling economic conditions two separate interviews and a final at least once a week, I’m sitting down to and natural disasters; the communities recall. They’d given me the option of coffee with a former classmate who wants here feel invisible and forgotten to the two different scenes, one classic and one some feedback on an artistic idea they’re rest of the world. However, it is a region from a contemporary play. I was assigned developing and vice versa. of extraordinary natural beauty and two actors and given a studio. For forty incredible history that goes all the way minutes, I directed the actors in the scene Do you feel that the course back to ancient Greek mythology. We aim of my choosing while a panel of tutors has equipped you with the to reframe this location as a site of retreat from LAMDA observed. At the end of the appropriate skills to work in and residency for artists and this summer session, I sat down to an interview with the theatre industry? we will be going to Sicily to do outreach the panel for about twenty minutes. The industry is constantly evolving work with the community. and just when you think you’ve got it What did you enjoy most figured out, the rules are shifting and the What advice would you give about the course and why? very definition of skill or the notion of to someone when picking a The projects were the best, and we did success is suddenly different to yesterday. course? so many of them. In the evenings and at All you can do is define those things Ask all the questions you have! As much weekends we were in workshop sessions for yourself and then work towards as they are interviewing you, you are also with professional practitioners on a variety those goals. LAMDA helped me put up interviewing them. Everyone grows and of topics. We did script analysis reports, goalposts for myself although they will learns in different ways. The ethos of how devising workshops, presentations on probably shift and change as I develop as a school works is important so investigate theatre practitioners and companies, an artist. But I can stand by those goals the principles of education that that dramaturgy, and we collaborated with and go after them confidently, which I school offers. Know yourself, know what a third year designer from the Design think is possibly the most important skill you want from your program, and ask BA at Royal Welsh to create a design for LAMDA’s given me. what you need to know. STUDENT GUIDE TO DRAMA EDUCATION 2018–19 5 SGDE1819-OL_005-011 What's it like [APPROVED].indd 5 07/08/2018 16:38:28 BA (Hons) Contemporary Performance Practice Three distinct courses: > DRAMA, APPLIED THEATRE AND EDUCATION > PERFORMANCE ARTS > WRITING FOR PERFORMANCE Information: www.cssd.ac.uk/drama-applied-theatre Apply for 2019 entry through UCAS: www.ucas.com CSSDLondon DRAMATIC TRAINING DEGREE COURSES IN: Acting Actor Musician Creative Producing Lighting Musical Direction Musical Theatre Scenic Art and Prop Making Site-Specific Theatre Practice Sound Stage Management Theatre Directing Theatre for Community and Education NOW IN PECKHAM Find out more mountview.org.uk • 020 8881 2201 SGDE DIGITAL.indd 6 08/08/2018 10:32:49 WHAT’S IT LIKE TO STUDY … … Acting Jak Malone Nicolas Dawkes What course did you study at What did you find most Did you know what you what institution? challenging? wanted to do as an I studied acting at The Liverpool Institute A challenge I faced was keeping up my occupation before you For Performing Arts (LIPA) training during holidays and rest periods.
Load more

Recommended publications
  • Media Information New University of the Arts London Campus Central Saint Martins at King’S Cross
    Media Information © 2011 New University of the Arts London Campus Central Saint Martins at King’s Cross Project Description October 2011 To the north of King’s Cross and St Pancras International railway stations, 67-acres of derelict land are being transformed in what is one of Europe’s largest urban regeneration projects. The result will be a vibrant mixed-use quarter, at the physical and creative heart of which will be the new University of the Arts London campus, home of Central Saint Martins College of Arts and Design. Stanton Williams’ design for the £200m new campus unites the college’s activities under one roof for the first time. It provides Central Saint Martins with a substantial new building, connected at its southern end to the Granary Building, a rugged survivor of the area’s industrial past. The result is a state-of-the-art facility that not only functions as a practical solution to the college’s needs but also aims to stimulate creativity, dialogue and student collaboration. A stage for transformation, a framework of flexible spaces that can be orchestrated and transformed over time by staff and students where new interactions and interventions, chance and experimentation can create that slip-steam between disciplines, enhancing the student experience. The coming together of all the schools of Central Saint Martins will open up that potential. The design aims to maximise the connections between departments within the building, with student and material movement being considered 3-dimensionally, as a flow diagram North to South, East to West, and up and down – similar in many ways to how the grain was distributed around the site using wagons and turntables.
    [Show full text]
  • The Seven Ages of Musical Theatre: the Life Cycle of the Child Performer
    UNIVERSITY OF SOUTHAMPTON The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook A thesis submitted in partial fulfillment for the degree of Doctor of Philosophy in the Humanities Faculty School of Music April 2016 \A person's a person, no matter how small." Dr. Seuss UNIVERSITY OF SOUTHAMPTON Abstract Humanities Faculty School of Music Doctor of Philosophy The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook The purpose of the research reported here is to explore the part played by children in musical theatre. It aims to do this on two levels. It presents, for the first time, an historical analysis of involvement of children in theatre from its earliest beginnings to the current date. It is clear from this analysis that the role children played in the evolution of theatre has been both substantial and influential, with evidence of a number of recurring themes. Children have invariably made strong contributions in terms of music, dance and spectacle, and have been especially prominent in musical comedy. Playwrights have exploited precocity for comedic purposes, innocence to deliver difficult political messages in a way that is deemed acceptable by theatre audiences, and youth, recognising the emotional leverage to be obtained by appealing to more primitive instincts, notably sentimentality and, more contentiously, prurience. Every age has had its child prodigies and it is they who tend to make the headlines. However the influence of educators and entrepreneurs, artistically and commercially, is often underestimated. Although figures such as Wescott, Henslowe and Harris have been recognised by historians, some of the more recent architects of musical theatre, like Noreen Bush, are largely unheard of outside the theatre community.
    [Show full text]
  • Love's Labour's Lost
    CAL PERFORMANCES PRESENTS CAST Wednesday, November 4, 2009, 8pm Love’s Labour’s Lost Thursday, November 5, 2009, 7pm Friday, November 6, 2009, 8pm Saturday, November 7, 2009, 2pm & 8pm Sunday, November 8, 2009, 3pm Zellerbach Hall Shakespeare’s Globe in Love’s Labour’s Lost John Haynes CAST by William Shakespeare Ferdinand, King of Navarre Philip Cumbus Berowne Trystan Gravelle Artistic Director for Shakespeare‘s Globe Dominic Dromgoole Longaville William Mannering Dumaine Jack Farthing Director Set and Costume Designer Composer The Princess of France Michelle Terry Dominic Dromgoole Jonathan Fensom Claire van Kampen Rosaline Thomasin Rand Choreographer Fight Director Lighting Designer Maria Jade Anouka Siân Williams Renny Krupinski Paul Russell Katherine Siân Robins-Grace Text Work Movement Work Voice Work Boyet, a French lord in attendance on the Princess Tom Stuart Giles Block Glynn MacDonald Jan Haydn Rowles Don Adriano de Armado, a braggart from Spain Paul Ready Moth, his page Seroca Davis Holofernes, a schoolmaster Christopher Godwin Globe Production Manager U.S. Production Manager Paul Russell Bartolo Cannizzaro Sir Nathaniel, a curate Patrick Godfrey Dull, a constable Andrew Vincent U.S. Press Relations General Management Richard Komberg and Associates Paul Rambacher, PMR Productions Costard, a rustic Fergal McElherron Jaquenetta, a dairy maid Rhiannon Oliver Executive Producer, North America Executive Producer for Shakespeare’s Globe Eleanor Oldham and John Luckacovic, Conrad Lynch Other parts Members of the Company 2Luck Concepts Musical Director, recorder, shawms, dulcian, ocarina, hurdy-gurdy Nicholas Perry There will be one 20-minute intermission. Recorders, sackbut, shawms, tenor Claire McIntyre Viol, percussion David Hatcher Cal Performances’ 2009–2010 season is sponsored by Wells Fargo.
    [Show full text]
  • Download Cast Sheet
    Did you know? A co-production from In 2018 we had 19,940 screenings around the world. by Stefano Massini adapted by Ben Power directed by Sam Mendes Enjoy the show Cast Creative Team We hope you enjoy your National Theatre Please do let us know what you think Henry Lehman Simon Russell Beale Director Sam Mendes Live screening. We make every attempt to through our channels listed below or Mayer Lehman Adam Godley Set Designer Es Devlin replicate the theatre experience as closely approach the cinema manager to share Emanuel Lehman Ben Miles Costume Designer Katrina Lindsay as possible for your enjoyment. your thoughts. Janitor Ravi Aujla Video Designer Luke Halls Pianist Candida Caldicot Lighting Designer Jon Clark Alternate Pianist Gillian Berkowitz Composer and Sound Designer Nick Powell Connect with us Understudies Co-Sound Designer Dominic Bilkey Music Director Candida Caldicot Emanuel Lehman Ravi Aujla Movement Polly Bennett Mayer Lehman Will Harrison-Wallace Explore Never miss out Associate Director Zoé Ford Burnett Go behind the scenes of The Lehman Trilogy Get the latest news from Henry Lehman Leighton Pugh and learn more about how our broadcasts National Theatre Live straight Broadcast Team happen on our website. to your inbox. Screen Director Matthew Amos ntlive.com ntlive.com/signup Technical Producer Christopher C Bretnall Script Supervisor Emma Ramsay Sound Supervisor Conrad Fletcher Lighting Consultant Gemma O’Sullivan Join in Feedback Use #The Lehman Trilogy and be a part of Share your thoughts by taking our the conversation online. short online survey and enter into a prize draw to win £100.
    [Show full text]
  • Key Questions: Preparing for a Levels
    Key Questions: Preparing for A Levels Name: College Number:402 Thank you for applying for A Levels at Chichester College. Please complete these questions in as much detail as you can. Please bring this with you when you come to our meeting. 1. Whatever educational path you choose for your next step, the most important thing is that it is the right path for you. You could choose A levels, a vocational course such as a BTEC Level 3 Extended Diploma, or an Apprenticeship. What is the difference? Why have you chosen A levels and why do you think this is the best path for you? 2. At school, how do you perform best? Do you perform better in coursework elements or do you perform better with examinations? Why do you think this is? 3. What is your future goal? What do you want to do after A levels? What qualifications do you need to achieve that future goal? (Eg Have you looked up the entry requirements on the UCAS website for a degree you might have identified?) If you are unsure of your future goal, it’s fine just to write that. 4. Successful A level students need to be resilient, well organised, able to study independently and work well under pressure. Describe a situation where you have demonstrated one or more of these skills. Do any of these skills concern you? 5. What subjects have you chosen and why? Outline what you know about each subject and why you have chosen it. Subject 1: Subject 2: Subject 3: Subject 4: (only available for students who achieve six GCSEs grade 9-7 (A*-A) and need 4th subject for University, eg Medicine, Dentistry etc.).
    [Show full text]
  • Women in Theatre 2006 Survey
    WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company 2006 copyright. No part of this survey may be reproduced without permission WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission The comparative employment of men and women as actors, directors and writers in the UK theatre industry, and how new writing features in venues’ programming Period 1: 16 – 29 January 2006 (inclusive) Section A: Actors, Writers, Directors and New Writing. For the two weeks covered in Period 1, there were 140 productions staged at 112 venues. Writers Of the 140 productions there were: 98 written by men 70% 13 written by women 9% 22 mixed collaboration 16% (7 unknown) 5% New Writing 48 of the 140 plays were new writing (34%). Of the 48 new plays: 30 written by men 62% 8 written by women 17% 10 mixed collaboration 21% The greatest volume of new writing was shown at Fringe venues, with 31% of its programme for the specified time period featuring new writing. New Adaptations/ New Translations 9 of the 140 plays were new adaptations/ new translations (6%). Of the 9 new adaptations/ new translations: 5 written by men 0 written by women 4 mixed collaboration 2 WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission Directors 97 male directors 69% 32 female directors 23% 6 mixed collaborations 4% (5 unknown) 4% Fringe theatres employed the most female directors (9 or 32% of Fringe directors were female), while subsidised west end venues employed the highest proportion of female directors (8 or 36% were female).
    [Show full text]
  • Chichester City Local Cycling & Walking Infrastructure Plan (LCWIP)
    Chichester City Local Cycling & Walking Infrastructure Plan (LCWIP) May 2020 Chichester LCWIP Chichester DC Produced by Transport Initiatives supported by Chichester City Local Cycling & Walking Infrastructure Plan (LCWIP) Contents Executive Summary ............................................. 2 1. Introduction ......................................................... 4 2. Existing cycling & walking ................................... 9 3. Potential for cycling & walking ........................ 21 4. Cycling assessment & proposals ..................... 29 5. Walking assessment & proposals .................... 33 6. Detailed proposals ........................................... 39 7. Conclusions ....................................................... 51 Appendices A. Glossary (acronyms & technical terms) .......... 53 B. Cycling audit & RST assessments (separate document) C. Walking audit (separate document) Checking / sign off Job: Chichester Local Cycling & Walking Infrastructure Plan Client: Chichester District Council Job number: CSSE29 Version number: 5.1 Issued by: Mark Strong Checked by: Ken Spence Date: 30/6/20 Date: 30/6/20 Chichester City LCWIP revised final Page 1 of 57 Chichester LCWIP Chichester DC © Chichester DC / Transport Initiatives LLP 2020 All photos © Transport Initiatives except where stated All OS mapping © Crown copyright and database rights 2020 Ordnance Survey 100018803 Transport Initiatives LLP www.transport-initiatives.com [email protected] 0845 345 7623 Registered Office: Office 4, 145 Islingword
    [Show full text]
  • Karaoke Mietsystem Songlist
    Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind.
    [Show full text]
  • 2019-20 Drama School V. University Choosing the Right Path for Your Future out of the Spotlight Speak the Speech, Training and Careers I Pray You
    STUDENT GUIDE TO www.dramaandtheatre.co.uk/SGDE 2019-20 Drama School v. university Choosing the right path for your future Out of the spotlight Speak the speech, Training and careers I pray you... beyond performance Choosing and preparing monologues Comprehensive advice for those applying to study or train in any aspect of the performing arts 001_SGDE_COVER [APPROVED].indd 1 23/07/2019 13:16 Apply for BA (Hons) and Foundation Courses at ArtsEd! Exceptional triple threat training. Revolutionary stage and screen Acting training. ArtsEd was ranked the top Igniting your drama school for overall student satisfaction in the 2019 National Student Survey with over 90% of students passion for happy with their training. Find out more: www.artsed.co.uk performance [email protected] @ArtsEdLondon 0_SGDE_2019/20.indd 2 05/08/2019 12:48 Welcome Extra online STUDENT GUIDE TO material The Student Guide to Drama Education is also available to 2019-20 read free online, where you will elcome to the Student Guide to Drama Education – a guide designed to off er fi nd links to extra comprehensive advice to anyone thinking of applying to study or train in any aspect of pages of course- Wthe performing arts. listings. Visit www. Everything in this guide has been written straight ‘from the horse’s mouth’ dramaandtheatre. – students and graduates of all the major disciplines share what it’s like to study their courses; teaching staff from world-class Higher Education co.uk from institutions tell you what you need to know about applying for their October 2019. courses; and working professionals in the industry off er career tips for those all-important early years in and out of training.
    [Show full text]
  • 16 Weeks Only!
    99 PERFORMANCES ONLY! “MAGNIFICENT. A GENUINELY EPIC PRODUCTION. THREE OF THE MOST VIRTUOSIC PERFORMANCES YOU’RE EVER LIKELY TO SEE.” --The New York Times Under the direction of Tony Award®, Academy Award® and Golden Globe winner Sam Mendes (The Ferryman; “1917;” “American Beauty”), a trio of accomplished actors who represent the best of British Theatre – Simon Russell Beale, Adam Godley, Ben Miles – transfer to Broadway after their sold-out runs at London’s National Theatre, West End and New York’s Park Avenue Armory. This New York Times Critic’s Pick is written by Stefano Massini and adapted by Ben Power. On a cold morning in 1844, a young man from Bavaria stands on a New York dockside dreaming of a new life in the new world. He is joined by his two brothers, and therein begins an American tale of ambition. THE LEHMAN TRILOGY brings to light their modest beginnings and enormous successes until, 163 years later, the firm they establish – Lehman Brothers – dramatically collapses into bankruptcy, generating the largest financial crisis in history. The New York Post hails the production as “the must-see event of the year. Do anything you can to get a ticket” while The Wall Street Journal declares, “You should crawl across broken glass to see it.” NEDERLANDER THEATRE 208 West 41st Street New York, NY 10036 Groups 10+ Previews begin September 25, 2021 Opening Night October 14, 2021 Running Time 3 hours, 20 minutes, including 2 intermissions (told in 3 parts, presented together as 1 piece of theatre) Limited Engagement through January 2, 2022 NOTES FROM THE PRODUCTION: This production features instances of flashing lights and some video effects that may cause dizziness.
    [Show full text]
  • Theatregraphy
    Theatregraphy Play Company Year Date Theatre Co Stars Director Author Richard III National 1981 nn nn nn nn Youth Theatre Macbeth National 1982 nn nn Sally Dexter nn (as Macbeth) Youth Theatre Trumpets and Drums (based on London 1984 nn nn nn Berthold The Recruiting Officer) Academy of Brecht (as Captain Brazen) Music and Dramatic Art Claw Theatre 1985 nn Theatre Clwyd / nn nn nn (as Lusby) Clwyd / Mold Mold Trumpets and Drums (based on Theatre 1985 nn Theatre Clwyd / nn nn Berthold The Recruiting Officer) Clwyd / Mold Mold Brecht (as Captain Brazen) Romeo and Juliet (as Tybalt) Young Vic, 1986 11.02.1986 - Old Vic Vincenzo Ricotta, David William London ??? Mike Shannon, Rob Thacker Shakespeare Edwards, Paul Bradley, Geoffrey Beavers, Edward York, Gary Lucas, Sharon Bower, Suzan Sylvester, Val McLane, Gary Cady, Leslie Southwick, John Hallam The Winter's Tale (as Florizel) RSC 1986 25.05.1986 – Royal Terry Hands William Raymond Bowers, 17.01.1987 Shakespeare Shakespeare Gillian Barge, 14.10.1987 - Theatre Eileen Page, ??? Jeremy Irons, Stanley Dawson, Penny Downie, Paul Greenwood, Joe Melia, Sean O'Callaghan, Henry Goodman, Mark Lindley, Cornelia Hayes, Caroline Johnson, Susie Fairfax, David Glover, Brian Lawson, Bernard Horsfall, Simon Russell Beale, Roger Watkins, Trevor Gordon, Gary Love, Roger Moss, Patrick Robinson, Martin Hicks, Richard Parry, Sam Irons, Richard Easton Every Man in His Humour RSC 1986 15.05.1986 – Swan Theatre Haig, David Caird, John Jonson, Ben (as Wellbred) 07.01.1987 Richardson, Joely Postlethwaite, Pete Moss,
    [Show full text]
  • A History of the University Musical Society Advisory Committee and Ambassadors
    A History of the University Musical Society Advisory Committee and Ambassadors Advisory/Ambassadors - working together with UMS effectively, efficiently, and joyfully The Advisory Committee, Prelude Dinner, May Festival 1982 Row 1 (L-R) Charlotte McGeoch, Mary McCollum, Betsy Stranahan, Millie Danielson Row 2 (L-R) Unidentified, Martha Ause, Joan Anderson Row 3 (L-R) Unidentified, Sue Van Appledorn, Alene Smith, Dory Paul, Anne Upton Row 4 (L-R) Lois Stegeman, Esther Floyd Row 5 (L-R) Carl Lutkehaus, Elmer Hamel, Nancy Judge, Ron Teigen, Janice Beck “Everybody In, Nobody Out” 1 Advisory/Ambassadors - working together with UMS effectively, efficiently, and joyfully Ambassadors are drawn together by our passion for the performing arts and our dedication to the University Musical Society, an internationally acclaimed arts presenter and recipient of the 2014 National Medal of Arts, the nation’s highest award to artists and arts organizations. Gladwin Barn, 2016 “Everybody In, Nobody Out” 2 Advisory/Ambassadors - working together with UMS effectively, efficiently, and joyfully Table of Contents Introduction: Arlene Shy 5 Chairs of Advisory Committee and Ambassadors, 1972-2017 8 Louise Townley Remembers: From Advisory Committee to Ambassadors 10 Tribute to Louise Townley: Ken Fischer 14 Early Years: 1972-1986: Gail Rector’s Advisory Committee: Arlene Shy 15 Ken Fischer Arrives: Change and Continuity, 1987-1994: Arlene Shy 22 BRAVO!: Debbie Herbert and Penny Schreiber 37 Supporting UMS School Day Performances: Pat Bantle, Jean Long 46 Ford Honors:
    [Show full text]